The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the Society for Artistic Research. The RC is free to use for artists and researchers. It serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be an open space for experimentation and exchange.

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Debris (Enlightenment Panel no 2) (2024) Zoe Panagiota (aka Betty) Nigianni
Sculpted and painted wood, combined with treated rusty objects. Duct tape with boat paint models for metal sheet sculptures, 2020. Digital drawings, 2021, 2023. Dutch steel sailing boat part-restoration and renovation, Amsterdam (with Sean A. Hladkyj), 2019-20. Relief and improvised sculptures made with industrial paints, as well as found objects, were exposed to weather conditions, including heavy rain and wind, over a few months on a floating timber raft. Working with the changes the weather was causing to the ad hoc studio, I made changes until the painting was finished, photographed, then dumped. The relief was collected. I applied the colours from those available in a symbolic manner, abstracting the view of a ghetto in a large city. The objects stand for the landmarks. The pieces would comprise of the scenography for a theatre performance, informed by my conversations with a theatre lighting technician. The event would also include a donation event of the art objects. See external link for the theatre play, based on the tradition of the philosophical dialogue and employing the idea of performing philosophy to make it accessible to a wider audience. Political asylum has been traditionally offered to people who flee from their countries of origin and citizenship, because of violations of their dignity, which is a human right, for their political beliefs and related activities. Currently, seven human rights of mine, five basic, have been infringed in the United Kingdom, where I have been a citizen since 2011; the origin is my native Greece. Political asylum is only offered to people, who are non-citizens of the country where asylum is sought from. At the same time, political asylum has become harder to offer, due to the global nature of persecution of whoever is perceived as a dissident. Since 2013, Forza Nuova, the Italian affiliate of the Greek Golden Dawn, has participated in the organised international criminal case, of which I have been the target, originating from my native Greece, "accelerating" in the Netherlands and the UK in 2020, Covid-19. Notably, Roberto Fiore, Forza Nuova's leader, inherited briefly Alessandra Mussolini's post in the EU parliament. Drawing on the philosophical notion of impossible objects, the works attempted an indirect postcolonial critique; a suggestion for alternative, autonomous and communitarian lifestyles; and a performative metaphor for global refugees. Investigatory research with artworks, some of it carried out in Amsterdam, the Netherlands, where I was a philosophy student, from 2017 until late 2019, and remained until autumn 2020. I did not have student insurance, as it was obligatory, because I was covered by the NHS through EHIC (European Community coverage), since the UK was still in the EU. I didn't have travel insurance either.
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XRW (Implicature) (2024) Zoe Panagiota (aka Betty) Nigianni
Sketchbook of 53 A3 drawings with coloured markers, including 4 A3 collages with newspaper cutouts and printed photos. Sketchbook cover with red nail polish. 22 A4 drawings with ballpoint pen. Preparatory work, 2023-2024. Although dealing with dark subject matter, I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012. This visual approach gives a slightly comical note to the otherwise dark subject matter. "Pop and Politics" (Pop Og Politikk) Where does the boundary run between art and popular culture? Pop art embraces the iconography of mass culture. Themes are taken from advertising comics, cinema and TV. The slick, impersonal style is a deliberate provocation. In Norway, pop art is part of a broader left-wing protest movement. Everything from capitalism and imperialism to environmental and gender politics is subjected to critical scrutiny. The exclusive, unique artwork is replaced by mass-produced prints and posters, well suited to spreading a political message." From the National Museum, Oslo, Norway.
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OTHER ONLINE PUBLICATIONS  (2024) Annette Arlander
This "exposition" consists of a list with links to articles and texts written by Annette Arlander in online publications available on the web. For a full list of publications a pdf is attached.
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Bonus materials: To Start from Scratch (2024) Karl Salzmann
This exposition contains bonus material (audio-visual) on the doctoral project "To Start from Scratch" by Karl Salzmann (ARC - Artistic Research Center, University of Music and performing Arts in Vienna, Austria, 2024). It presents a selection of documented artistic works, prototypes, performances and materials developed during the research process.
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Genklangen fra den væltede fjerde væg - DK version (2024) Jacob Anderskov
DK abstract: (scroll down for UK abstract) Projektet “Genklangen fra den væltede fjerde væg” forsøger at bygge broer mellem kunstmusikken og fællesskabet, her repræsenteret ved den danske sangbog ‘Højskolesangbogen’. I et hybridt koncertformat, skabt til projektet, hvor en intens, abstraheret tilgang til det musikalske materiale er gennemgående, opstår i løbet af koncerterne adskillige passager med fællessang, hvor publikum synger med på sange de kender. Projektet har blandt andet undersøgt hvordan vi kunne skabe et musikalske miljø, der kan bygge bro over de forskellige positioner (kunstmusik og fællessang), hvordan ideer om lytterens/tilskuerens roller kan genforhandles indenfor forskellige kunstdomæner, og hvordan projektet fra et genre-teoretisk perspektiv kan opfattes som et møde mellem bekræftende og destabiliserende kræfter. Det, der bliver gentænkt i projektet, er ikke så meget selve fortiden og heller ikke nødvendigvis etablerede fortællinger om fortiden, men snarere mulige samtidige og fremtidige fortællinger om, hvordan vi kan genfortolke sange fra fortiden – sammen. Og det der opdages, er ikke så meget skjulte perspektiver i fortiden, men derimod skjulte potentialer i, hvordan en majoritetskulturel ’assemblage’ som Højskolesangbogen kan genforhandles. Samtidig nedbrydes barrierer mellem udøvende og lytter, og der etablere nye måder at opleve ny musik på. Og vi mindes om, at vi aldrig ved, hvordan vores kulturelle fortid bliver fortolket i morgen. UK abstract: The project “Echoes from the torn down fourth wall” aims to build bridges between contemporary-music-as-an-art-form and community singing within songs from the Danish songbook ‘Højskolesangbogen’. In a hybrid concert format created for the project, within the context of an abstracted approach to intense, improvised concert music, several passages with community singing occur, where the audience sings along in songs they know. The research process has investigated how to create a musical environment that might bridge the different positions (art music and community singing), how the idea of the listener/spectator can be negotiated within different art domains and how, from a genre perspective, the project can be narrated as a meeting between confirming and destabilising forces. What is being reimagined in the project is not so much the past itself, and not necessarily established narratives about the past, but rather possible current and future narratives of how we may reinterpret songs from the past – together. What is being revealed is not so much specific perspectives in the past but rather hidden potentials in how a majority cultural assemblage like Højskolesangbogen may be renegotiated.
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Echoes from the torn down fourth wall - UK version (2024) Jacob Anderskov
The project “Echoes from the torn down fourth wall” aims to build bridges between contemporary-music-as-an-art-form and community singing within songs from the Danish songbook ‘Højskolesangbogen’. In a hybrid concert format created for the project, within the context of an abstracted approach to intense, improvised concert music, several passages with community singing occur, where the audience sings along in songs they know. The research process has investigated how to create a musical environment that might bridge the different positions (art music and community singing), how the idea of the listener/spectator can be negotiated within different art domains and how, from a genre perspective, the project can be narrated as a meeting between confirming and destabilising forces. What is being reimagined in the project is not so much the past itself, and not necessarily established narratives about the past, but rather possible current and future narratives of how we may reinterpret songs from the past – together. What is being revealed is not so much specific perspectives in the past but rather hidden potentials in how a majority cultural assemblage like Højskolesangbogen may be renegotiated.
open exposition

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